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BIOSHOCK: INFINITE    2K Games

The company that made us think twice about driving on the streets or stopping to pick up strangers now gives us the game of the decade (at least to date).
Bioshock Infinite is an amazing adventure through an action packed world of death and destruction interspersed with a carnival atmosphere.This is not the
first Bioshock game, but it is the first I have played and I must say I was more than enamoured with it.

America is prospering and in fine fettle when its scientists and boffins create COLUMBIA, a floating City, a playground for the rich, famous and bored. The
city is supported (held up) by numerous airshop style blimps and is supposedly an homage to the 1893 Worlds Fair Exhibition, hence the large fun fair.
Unfortunately what was conceived as the hope for the future kept on going until it disappeared into and through the clouds, oops !

The player takes on the role of former Pinkerton Detective, Booker DeWitt who has been sent to what is known as the "lost city" (although it isn't really
that lost otherwise he wouldn't be going there) to locate a young lady named Elisabeth. When he (you) eventually find her she becomes your partner or
helper, able to mentally teleport items, especially those of use to you like weapons.

                                                                                      

As you progress you learn to control special powers which are known as vigors. These allow you to throw fireballs, heal etc and are hard to come by but
extremely useful when you have them - you can only have one ready at a time so, like in other games where you change weapons, here you change vigors.
Vigors require Salt in the way magic in many games require mana. Booker can get Salt from various sources that he finds, food, drink, even Salt dispensers
are located at various points on his journey. Booker gets to play some of the fairground attractions and gains prizes depending on how well he (you) does.
Columbia appears to have been built in the steam punk genre as there are large displays of Victoriana and customised inventions, plus there are robotrons
and old-style fairground music as well as barkers that try to pull you to their stalls.        

          

DeWitt arrives on an island having been ferried there by two old timers in a row boat across a stormy sea. There appears to be nothing on the island except
for a Lighthouse. Finding his way in DeWitt finds a congregation led by a druid. The only way onward is through the portal behind the preacher but first he
has to be Baptised. DeWitt is nearly drowned during this Baptism but manages to escape into the portal where he is welcomed on the other side, that is he
is welcomed until the initials AD of his tatoo are noticed; then he is accused of being a false shepherd" and the defences and offences of Columbia are turned
against him. It seems that Columbia is not actually a peaceful floating city, it is more of a war machine designed to infiltrate and begin wars. 

As DeWitt you can journey from building to building using a powerful grappling hook device and the convenient hooks that hang from many of the buildings.
If there is an enemy on the area you are aiming to land on you can use the grappling line to slide down into them, generally killing them from the weight and
speed of your decline. This is after all a first person action game and therefore you get to find and use many weapons. You also collect credits in the shape
of gold coins which you can spend on Salt and other necessary resources. However when you die, which is inevitable until you have a good knowledge of
how the controls work and where the adversaries are likely to be, you end up in a room where you lose a number of credits before you open the door and
step out back into the world, usually not far from where you died; close enough that you will soon be in the action again but far enough away for you to plan
your next move.

Graphics, sounds, music, background story, main story, in fact everything about Bioshock: Infinite is superb and well worth playing. 

 


 

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© Chris Baylis 2011-2015